| The first excerpt represents the past or something you must release, and is drawn from The Soul of Man by Oscar Wilde: There is also this to be said. It is immoral to use private
property in order to alleviate the horrible evils that result from
the institution of private property. It is both immoral and
unfair.
Under Socialism all this will, of course, be altered. There will
be no people living in fetid dens and fetid rags, and bringing up
unhealthy, hunger-pinched children in the midst of impossible and
absolutely repulsive surroundings. The security of society will
not depend, as it does now, on the state of the weather. If a
frost comes we shall not have a hundred thousand men out of work,
tramping about the streets in a state of disgusting misery, or
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Heritage of the Desert by Zane Grey: find her if she is not as the grain of drifting sand. But is the White
Prophet wise in his years? Let the Flower of the Desert take root in the
soil of her forefathers."
"Eschtah's wisdom is great, but he thinks only of Indian blood. Mescal
is half white, and her ways have been the ways of the white man. Nor
does Eschtah think of the white man's love."
"The desert has called. Where is the White Prophet's vision? White
blood and red blood will not mix. The Indian's blood pales in the white
man's stream; or it burns red for the sun and the waste and the wild.
Eschtah's forefathers, sleeping here in the silence, have called the
Desert Flower."
The Heritage of the Desert |
The third excerpt represents the future or something you must embrace, and is drawn from Eugenie Grandet by Honore de Balzac: middle panel and made, as it were, a motive for the knocker, fastened
to it by a ring, which struck upon the grinning head of a huge nail.
This knocker, of the oblong shape and kind which our ancestors called
/jaquemart/, looked like a huge note of exclamation; an antiquary who
examined it attentively might have found indications of the figure,
essentially burlesque, which it once represented, and which long usage
had now effaced. Through this little grating--intended in olden times
for the recognition of friends in times of civil war--inquisitive
persons could perceive, at the farther end of the dark and slimy
vault, a few broken steps which led to a garden, picturesquely shut in
by walls that were thick and damp, and through which oozed a moisture
Eugenie Grandet |
